Cyanotype - Knowledge (XXG)

511:, to replace the variable and unreliable ammonium ferric citrate. It has the advantages of being made up as a convenient single stock solution with a good shelf-life that does not nourish mould growth. The solution is well-absorbed by paper fibres, so it does not pool on the surface or result in a 'tackiness' which may adhere to negatives. The paper better retains the pigment, with little of the Prussian blue image being lost in the washing stage, and exposure is shorter (ca. 4-8 times) than the traditional process. The cyanotype solution, even once its excess is washed off with water, remains photo-sensitive to some degree. A print that has been stored or displayed in bright light will eventually fade, the light causing a chemical reaction that changes the Prussian blue of the cyanotype to white. However, this process can be reversed by storing the cyanotypes in darkness. This will return them to their original vibrancy. 908: 924: 51: 1190: 31: 544: 553: 768: 156: 609: 625:, ammonia, borax, Dektol photographic developer and other chemicals can be used to do this. Household bleach is also effective, but tends to destroy the paper base. How much and how long to bleach depends on the image content, emulsion thickness and what kind of toning is being used. When using a bleaching agent it is important to control the bleaching process by washing in clean water as soon as the desired effect is achieved, to prevent loss of detail in the highlights. 39: 861:'s cyanotypes, which he made after he gave up photography after 1856 to continue painting and collecting art, were reprints of his famous works and made around 1870 as he was afraid of possible loss due to fading. He gave the reprints dates of the original negatives, some of which are still in good condition. They are well-represented in French collections. From the early 1850s through the 1870s Corot, with associated artists working in and near the town 20: 571:, made by arranging objects on sensitised paper. Fresh or pressed plants are a typical subject but any opaque to translucent object will create an image. A sheet of glass will press flat objects into close contact with the paper, resulting in a sharp image. Otherwise, three-dimensional objects or less than perfectly flat ones will create a more or less blurred image depending on the incidence and breadth of the light source. 5445: 1146: 5456: 1181:, who met in the East Village New York art scene of the 1980s, and until 1995 took the phenomenon to the extreme of reconstructing themselves as Victorian gentlemen, adopting the lifestyle and documenting it and their possessions using vintage cameras and materials, first inspired by their discovery of the cyanotype, and dating their contemporary works in the nineteenth century. 703:

internal detail where they allow light, depending on their relative transparency and exposure, to filter through; Anna Atkin's botanical cyanotypes sharply register the more transparent segments of a petal or leaf. An object original, used to make a cyanotype photogram, including the human figure for example, is reproduced at actual size.

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which displayed uses of the medium that extend well beyond the utilitarian contact-printing of negatives; Annie Lopez stitched together cyanotypes printed on tamale paper to create dresses; Brooke Williams tea-toned her cyanotypes, adjusting their color to accord with her story as a Jamaican American

790:, in her cyanotype botanical specimens, is considered the first to make art with the medium in which the sea plants appear suspended in an oceanic blue, and while her hundreds of images satisfy a scientific curiosity, their aesthetic quality has served as inspiration for cyanotype artists ever since. 616:

In a cyanotype, blue is usually the desired color. However, a variety of alternative effects can be achieved. These fall into three categories: reducing, intensifying, and toning. It is common to bleach prints before toning them, but also possible to achieve different effects by toning prints without

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made cyanotype photograms of everything from a broken windshield to herself (Falling Angels), and eventually several long series of museum collections and of Haute-Couture robes by Christian Lacroix and other designers. The results have been shown all over the world and are in major institutions and

695:), so requires contact printing at 1:1 ratio. The low sensitivity permits progress to be inspected in a printing frame during exposure. Consequently and because of its long exposure scale it suits most negatives whether of high or low contrast. As a recognisably 19th century technology, artists like 415:

The cyanotype produced negatives, reversing the darks and lights of the image or object exposed on it, but Herschel also contrived a version, though more complex, to produce positives which he hoped would aid in his ambition to achieve images of full natural colour. Its difficulties were overcome by

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and also introduced to him by Smee, for photographic purpose. He mixed the ammonium ferric citrate in a 20% aqueous solution, with 16% of the potassium ferricyanide, to make the sensitizer for coating plain paper. Exposed to sunlight, the ferric salt is reduced then combines with the ferricyanide to

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article by critic Lyle Rexer, confirmed that "Looking back at pioneers, today's artists see a way to restore expression to an art beguiled by technology," referring to the loss of 'intimacy' in digital imaging to account for artists' attraction to daguerreotypes, tintypes, cyanotypes, stereopticon

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notes of his 1997 Cubist multi-pinhole portraits of porcelain dolls; "I am specially happy with the blue colour in this series as the blue has a different depth in the background than a black print. Blue is still infinite, whereas black usually has the character of ending." The negative form may be

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Commercial use came only in 1872, the year after Herschel's death. Marion and Company of Paris were first to market the cyanotype, under the proprietary name of "Ferro-prussiate", for reprography of plans and technical drawings and to advantage due to its low cost and simplicity of processing which

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of whom he made a portrait in cyanotype, and of the haystacks that Monet famously painted. He noted that "Painting directly from nature is difficult as things do not remain the same; the camera helps to retain the picture in your mind." He often drew a grid over his cyanotypes or albumen prints to

857:. While artistic in execution they also satisfy with the scientific interests of the group as each subject is photographed nude with front, back and profile views, not in the field but in his studio. The project also takes advantage of the ease of making multiples of cyanotypes for the publication 3036:

Zeichnungen des Lichts Clichés-verre von Corot, Daubigny und anderen aus deutschen Sammlungen; [anlässlich der Ausstellung "Zeichnungen des Lichts. Clichés-verre von Corot, Daubigny und Anderen aus Deutschen Sammlungen", Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, 9. Juni bis 3.

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Toning processes are used to change the color of the iron oxide in the print. The color change varies with the reagent used. A variety of agents can be used, including various types of tea, coffee, wine, urine, tannic acid or pyrogallic acid, resulting in tones varying from brown to black. Most

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by washing in cold running water: the water-soluble iron(III) salts are washed away. The parts that were exposed to ultraviolet turn blue as the non-water-soluble Prussian blue pigment remains in the paper. This is what gives the print its typical blue color. The blue color darkens upon drying.

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The artist is not restricted to the reproduction of existing photographic negatives. Prints can be made of three-dimensional objects, utilising the ability of the objects to be placed on top of the photosensitive material. Once exposed to light, the final print is of an outline of an item with

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Since 2000 around 10 books, and in growing numbers, are published each year in English in which 'cyanotype' appears in the title, compared to only 95 in total from 1843 to 1999. Though it has been an artform since its inception, the numbers of artists now employing the cyanotype process have

653:, as this makes the image fade. Another unusual characteristic of the cyanotype is its regenerative behavior: prints that have faded due to prolonged exposure to light can often be significantly restored to their original tone by simply temporarily storing them in a dark environment. 690:

gallery, and evoking wavy brushstrokes by placing ordinary shopping bags on photo-sensitive paper exposed to light. For photographic negatives or positives enlargement directly onto the emulsion is not feasible due to the low sensitivity of the emulsion (except with a

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and half potassium ferricyanide will produce a medium, even shade of blue that is most commonly seen in a cyanotype. A mix of one third ferric ammonium citrate and two thirds potassium ferricyanide will produce a darker blue, and a more high-contrast final print.

377:. The latter in making fine presentation albums of bridges and structural steel, foresaw an appropriate effect in colour: the intense blues of his refined cyanotypes from large glass plates were printed on fine French paper 37 cm x 43.6 cm, watermarked 433:

In a typical procedure, equal volumes of an 8.1% (w/v) solution of potassium ferricyanide and a 20% solution of ferric ammonium citrate are mixed. The overall contrast of the sensitizer solution can be increased with the addition of approximately 6 drops of 1%

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at the Art Institute of Chicago where in 2007 scientific examination of the prints and his records concluded that cyanotype had been incorporated in their predominant gum bichromate over platinum production. Steichen argued provocatively in the first issue of

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The cyanotype's success as a form of artistic expression lies in its capacity for manipulation or distortion. It produces distinctive effects and is versatile, enabling prints to be made on a wide variety of surfaces, including paper, wood, fabric, glass,

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made cyanotypes of youths, nude or in sailor suits, in 1911, that are held in the Library of Congress, and French artist Charles-François Jeandel printed his erotic imagery of bound women in his painting workshop in Paris and then in Charente 1890–1900.

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yield ferric ferrocyanide; Prussian blue (also known as Turnbull's blue, or Berlin Blue in Germany). Intensifying and fixing is achieved simply by rinsing the print in water in which unexposed sensitizer and reaction products are readily soluble.

980:. His labor-intensive process entailed developing the negatives then making tests on cyanotype, playing with dimensions, proportions, and other variables, before making a print in platinum, which he then meticulously and expressively retouched. 1301:

translates her sculptural interests into large-scale cyanotype photograms of temporary three-dimensional compositions in her studio with hours-long exposures during which component forms are moved, added or subtracted for transparent effect.

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As with all of his photographic inventions, Herschel did not patent his cyanotype process. Chemist George Thomas Fisher Jr. quickly disseminated information on the new medium internationally in his popular 1843 fifty-page manual

1103:, well-informed about the international debate on abstraction, was impressed with the abstract potential of the photogram. He participated in a 1934 exhibition in Paris with the international group of abstract artists ' 740:

disorienting or surreal; while white is often used to frame or highlight a central subject in many artistic media, the opposite may be true in the cyanotype, requiring the artist to adapt their ideas to the effect.

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John Davis, artist and naturalist on the expedition, made or commissioned some cyanotypes in 1848 from seaweeds collected on the voyage. Also in the Antipodes, Herbert Dobbie in imitation of Atkins produced a book

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assist transferring the composition, with compositional amendments, onto canvas, though conscious that "I must beware of the photo, get what I can of it and then go." His photographic imagery is held in the

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were made by both artists lying down, hands held, on a large piece of photosensitive paper (treated with cyanotype chemicals). The resulting prints of their bodies in various poses are currently part of the

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solution is then applied to a receptive surface (such as paper or cloth) and allowed to dry in a dark place. Cyanotypes can be printed on any support capable of soaking up the iron solution. Although

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Photogenic manipulation, containing plain instructions in the theory and practice of the arts of photography: calotype, cyanotype, ferrotype, chrysotype, anthotype, daguerreotype, and thermography,

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One of the most robust of Victorian print technologies, cyanotypes are quite stable on their own, but in contrast to most historical and present-day processes, the prints do not react well to

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exemplified the British attitude that cyanotypes were unworthy of purchase or exhibition with his assertion that: "No one but a vandal would print a landscape in red, or in cyanotype."

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employs the cyanotype for nostalgic representations of her homeland, and as a symbolic colour in imagery alerting audiences to an emerging catastrophe in the marine environment.

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A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench,

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which the following year was translated into German and Dutch. The medium was immediately taken up and perfected by notable photographic practitioners of the time, including

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the iron(III) to iron(II). This is followed by a complex reaction of the iron(II) with ferricyanide. The result is an insoluble, blue pigment (ferric ferrocyanide) known as

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subject matter and themes. Many of the practitioners were respected amateurs whose work was rewarded in a system of international 'salons' run by such organisations as the

754:. The print, which holds the world record for the largest cyanotype print, was made to help teach people about cyanotype photography and increase environmental awareness. 907: 385:

required only water. In this application and with the manufacture of blueprint papers, it remained the dominant reprographic process until the 1940s. During the 217-day

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The cyanotype process is quite flexible, and it can be scaled up to incredible sizes. For example, in 2017, Stefanos Tsakiris created a 276.64 square meter cyanotype in

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or mild acidic substances: citric acid, lemon juice, vinegar or acetic acid etc. These can also be used to speed up the oxidation process that creates the blue pigment.

578:. The cyanotype solution is applied, poured or sprayed irregularly. A variant of action painting results from repeated washing and application, placing objects on top. 600:

image, in which, for full-colour imaging from colour separations, it may form the blue layer; or it may be combined with a hand-painted or hand-drawn drawn layer.

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More sophisticated prints can be made from artwork or photographic images on transparent or translucent media. The cyanotype process reverses light and dark, so a

342:, a friend of the Herschel family, over 1843–61 and with the assistance of Anne Dixon, hand-printed several albums of botanical and textile specimens, especially 114:, the range 300 nm to 400 nm known as UVA radiation. It produces a monochrome, blue coloured print on a range of supports, often used for art, and for 1137:

theories (and politically aligned with Communism), Veronesi used the cyanotype photogram after 1932 as a means of revealing metaphysical qualities in objects.

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who in 1842 published his investigation of light on iron compounds, expecting that photochemical reactions would reveal, in form visible to the human eye, the

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in the 1850s used the process for printing photographs onto cotton textiles and discovered means of toning the cyanotype violet, green, brown, red, or black.

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Photogenie manipulation: containing plain instructions in the theory and practice of the arts of photography, calotype, cyanotype, ferrotype, chrysotype,...

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In a 2008 essay A.D. Coleman perceived a return of the legacy Pictorialist methods being applied in art photography from 1976, a tendency represented in

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in White's portrait of him (1907) held in Princeton University Art Museum, appears gloweringly critical in the cyanotype print preserved there.

3238: 1338:'s Barbican Art Gallery installation of 12,000 cyanotype prints traces a visual time line from October 2013 to September 2014 in a work called 797:, but became less popular as photography improved. By the mid-1800s few photographers continued to exploit its accessible qualities and at the 2655: 4111: 3858: 3550: 3491: 3399: 3045: 2777: 2750: 2526: 2491: 2382: 2310: 2252: 2217: 2182: 2152: 2118: 1934: 1899: 1829: 1744: 1682: 1655: 1582: 1518: 1419: 1289:

reprises Anna Atkins by exposing her prepared papers underneath the waves, so light filters through moving sand, shells, and water currents.

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Collection ethnographique photographiée sous les auspices de la Société d'ethnographie et publiée avec le concours d'une commission spéciale

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Cyanotype, toned with tannin, tea and coffee, left side: bleached with washing soda before toning, picture of flower made with Image Creator

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exhibited the work of nineteen contemporary artists who employ the medium. Mounted 175 years after Anna Atkin's first book of cyanotypes,

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Equally important is the expressive potential of the application of emulsion using brush, squeegee, roller or cloth, or by stamping, for

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cites thirty or more early cyanotyped family snapshots on cloth, sewn into pillow slips or quilts, in the collection of Eastman House.

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that "every photograph is a fake from start to finish, a purely impersonal, unmanipulated photograph being practically impossible."

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was commissioned in the 1860s to make cyanotype portraits from glass negatives for the Société d'Ethnographie for their publication

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Sir John Herschel (1842) Experimental cyanotype of an unidentified engraving of a lady with a harp, Museum of the History of Science

30: 3341: 5078: 3214: 254: 5496: 5370: 4864: 586: 487:. The exposure time varies widely, from a few seconds in strong direct sunlight, to 10–20 minute exposures on a dull day. 923: 5043: 4526: 4313: 2172: 801:

of 1851, despite extensive displays of photographic technology, only a single example of the cyanotype process was included.

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On the other hand the simple technology of the cyanotype remained accessible in the non-industrial realm and contributed to

1225:, Ian Phillips-McLaren and Spencer Rowell employ the craft of photography for postmodern purpose, including the cyanotype. 656:

Cyanotypes on cloth are permanent but must be washed by hand with non-phosphate soap so as to not turn the blue to yellow.

50: 4952: 4884: 4637: 4159: 942:, and competition promoted an elevated level of technical experimentation with all of the then-current processes, such as 306: 2946: 2921: 5486: 5380: 5375: 968:'s impeccable domestic and plein-air pictures are indebted in their bold composition to his contemporaries the painters 679: 543: 3810:– A new version of the cyanotype that address some of the classical cyanotype's shortcomings as a photographic process. 1959: 845:

Curators and practitioners in France embraced the process. Caricaturist, illustrator, writer and portrait photographer

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perpetuates this tradition in her own quilt making and as a proponent for increased museum acquisitions of Art Quilts.

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Sun gardens: cyanotypes by Anna Atkins: [exhibition New York public library du 19 octobre 2018 au 17 Novembre 2019

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to isolate a pure form of potassium ferricyanide, which he sent to Herschel whose innovation was to use the ammonium

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Mississippi blue: Henry P. Bosse and his views on the Mississippi River between Minneapolis and St. Louis, 1883–1891

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Döbereiner, Johann Wolfgang "Zur chemischen Kenntnis der imponderabilien in der organischen Natur," dissertation in

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surfaces have been used. Care should be taken to avoid alkaline-buffered papers, which degrade the image over time.

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Many were included in the first American international survey of the cyanotype in 2016; the Worcester Art Museum's

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produced from each object from the artists' studio being exposed on cyanotype-coated found paper, card or wood.

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Official descriptive and illustrated catalogue of the great exhibition of the works and industry of all nations

1038: 504: 290: 3786:"On the Action of the Rays of the Solar Spectrum on Vegetable Colours, and on Some New Photographic Processes" 1472:"On the action of the rays of the solar spectrum on vegetable colours, and on some new photographic processes" 3830:"Photographic reproduction processes. A practical treatise of the photo-impressions without silver salts ..." 5249: 5053: 4957: 4821: 4672: 4504: 4409: 4052: 3970: 3936: 1242: 1104: 830: 552: 530:

Disadvantages of the Ware formula are a higher cost, more complicated preparation, and a level of toxicity.

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Jill Enfield's guide to photographic alternative processes: popular historical and contemporary techniques

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Consequently, the process devolved to the proofing of domestic negatives by hobbyist photographers and to

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A paprika branch (Chilie) with leaves, cyanotype as a photogram, exposed (left) and developed (right).

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Harding, Colin (Autumn 2001). "Swimming in a cork jacket? Edward Linley Sambourne and photography".

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applies Japanese aesthetics and non-Cartesian perspective in her mural-scale cyanotype landscapes.

1222: 1113: 816: 802: 704: 404:; Francois Brunet notes the cyanotypes on cloth used by American home quilt-makers after 1880, and 145: 111: 649:

environments. As a result, it is not advised to store or present the print in chemically buffered

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Schaaf, Larry (April 1982). "Anna Atkins' Cyanotypes: An Experiment in Photographic Publishing".

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in his moody cyanotype portraits and nudes made between 1898–1920. Another American Pictorialist

888: 728: 480: 3807: 106:) is a slow-reacting, economical photographic printing formulation sensitive to a limited near 5269: 5205: 5192: 5123: 4787: 4712: 4702: 4692: 4677: 4541: 4509: 4369: 4204: 3975: 3748: 3729: 3710: 3691: 3556: 3546: 3497: 3487: 3435: 3395: 3349: 3322: 3297: 3163: 3139: 3051: 3041: 3015: 2990: 2885: 2853: 2783: 2773: 2746: 2663: 2599: 2532: 2522: 2497: 2487: 2407: 2378: 2316: 2306: 2258: 2248: 2223: 2213: 2188: 2178: 2148: 2114: 2068: 1995: 1940: 1930: 1905: 1895: 1857: 1835: 1825: 1800: 1775: 1750: 1740: 1688: 1678: 1651: 1588: 1578: 1542: 1514: 1491: 1425: 1415: 1371: 1264: 1161: 1074: 1050: 955: 794: 629: 386: 374: 328: 202: 172: 19: 1205:

burgeoned, and they are not solely photographers. In the book of the 2022 British exhibition

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with whom, convinced of the essential 'uselessness' of art, in 1947 he founded a group named

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images, albumen prints, collodion wet plates; all physical and 'hands-on' methods. Artists

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A source book of photographic history = Quellendarstellungen zur Geschichte der Fotografie

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original is required to print as a positive image. Large format photographic negatives or

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abrades cyanotype prints on watercolour paper in representations of the passing of time.

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The Expressive Potential of Bosse's Landscapes, In Cyanotypes: Photography's Blue Period

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Milan-born photographer, printmaker, painter, set designer and experimental film-maker,

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The blue hue naturally associates symbolically with sea or sky. As German photographer

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Dalati, S. (2018). "Reconsidering sepia: Clarence White's photography at the Davis".

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Coleman, A. D. (November 2008). "Return of the Suppressed / Pictorialism's Revenge".

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Matthias, Agnes; Mason, Rainer Michael (2007). Matthias, Kupferstich-Kabinett (ed.).

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Gum printing: a step-by-step manual, highlighting artists and their creative practice

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was early to incorporate cyanotype with other art media including hand-painting with

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The ingredients have remained mostly unchanged since its inception in 1840. In 1994

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Harris, Jane (February 2001). "aura fixation: old technology for new photography".

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The keepers of light: a history & working guide to early photographic processes

1719: 1456: 1366: 1311: 1270: 1214: 1210: 1197: 1145: 1058: 947: 931: 751: 692: 650: 409: 217: 3635:"Meghann Riepenhoff's new book collects cyanotypes made by ice - 1854 Photography" 3483:

McDermott & McGough: an experience of amusing chemistry: photographs 1990-1890

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Cyanotype: the history, science and art of photographic printing in Prussian blue

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Singular images, failed copies: William Henry Fox Talbot and the early photograph

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Cyanotype: the history, science and art of photographic printing in Prussian blue

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who suggests musical scores in his grids of cassette tapes or their unspooling.

1218: 1169: 1093: 1078: 1041:, from 1894 produced more than a thousand cyanotype photographs of wildflowers. 997: 744: 590: 472: 339: 320: 115: 107: 24: 3658: 5420: 4942: 4922: 4836: 4826: 4687: 4652: 4627: 4556: 4296: 4281: 4261: 4143: 4079: 3995: 3941: 3560: 3301: 2787: 2536: 2320: 2262: 2227: 2192: 1999: 1839: 1692: 1592: 1376: 1361: 1356: 1280: 1276: 872: 787: 708: 522:

will result in a variety of effects in the final cyanotypes. Mixtures of half

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improved on Herschel's formula with ammonium iron(III) oxalate, also known as

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use it to evoke, or to critique, Victorian aesthetics and social constructs.

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woman; and Hugh Scott-Douglas experimented with photograms and abstraction.

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effectively the world's first photographically-illustrated books. After the

134:, and only water to develop and fix. Announced in 1842, it is still in use. 119: 43: 3598:

Markowitz, Sally J. (1994-01-01). "The Distinction between Art and Craft".

3540: 3291: 2767: 2718:"Video: This music video is made entirely from over 5,000 cyanotype prints" 2516: 2300: 2207: 1989: 1672: 1637: 1546: 628:

Intensifying processes will strengthen the blue effect. Chemicals used are

3374: 3034: 2984: 2481: 2399: 2247:. New York: Taylor & Francis. pp. 69, 73–77, 121, 149, 168, 266. 1794: 1769: 1647: 1606:

Smee, Alfred (September 1840). "On the Ferrosesquicyanuret of Potassium".

1471: 1409: 4927: 4742: 4239: 4169: 4037: 3958: 3953: 3316: 3009: 1924: 1889: 1734: 1443:

Ware, Mike (1998). "John Herschel's Cyanotype: Invention or Discovery?".

943: 895:' ethnographic cyanotypes of native North Americans are preserved in the 862: 809: 401: 390: 298: 286: 222: 2595: 1536: 4967: 4116: 4062: 3619: 3542:

Squaring the circles of confusion. Neo-pictorialism in the 21st century

1854:

Mississippi Blue, Henry P. Bosse and his Views on the Mississippi River

1381: 1207:

Squaring the Circles of Confusion: Neo-Pictorialism in the 21st Century

1054: 846: 675: 671: 458: 420:

direct positive photographic tracing method, which he commercialised.

397:

from October 1899, the process was used to print stamps and banknotes.

314: 3793: 3785: 1819: 1574: 891:

made cyanotype contact prints of his animal locomotion sequences, and

621:

Bleaching processes are ways of decreasing the intensity of the blue.

4514: 3931: 3881: 2879: 2467:

The Heilbrunn Timeline of Art History, The Metropolitan Museum of Art

636:

toning processes will to some extent tint the white parts of a print.

471:

An image can be produced by exposing sensitised paper to a source of

461: 3611: 1564: 3376:

Painting in Italy, 1910s–1950s: futurism, abstraction, concrete art

5182: 4597: 4057: 2483:

Cyanotypes on fabric: a blueprint of how to produce... blueprints!

1188: 922: 906: 771:

Self portrait of Linley Sambourne modelling (10 January 1895) for

766: 607: 49: 37: 29: 18: 2582:

Saska, Hope (2010). "Anna Atkins: Photographs of British Algae".

2359:

http://www.blog.alexisrago.com/residency-2019-cyanotype-workshop/

2038: 1021:, involved through marriage with the Lalique company, evinces a 596:

The cyanotype may be combination-printed with gumoil, or with a

454: 3840: 727:'s permanent collection. In France, from the end of the 1970s, 3836: 2302:

Cyanotype toning using botanicals to tone blueprints naturally

1966:. Hebron, Ct: Studio Art Quilt Associates, Inc. Archived from 927:

Bertha Evelyn Jaques, Untitled, c. 1900, cyanotype, NGA 136408

435: 1256:

Amongst others currently working in, or with, cyanotype are;

1037:, aligned with the antimodernist views of the late Victorian 92: 86: 71: 3516:"Results for 'cyanotype' > 'Book' [WorldCat.org]" 2656:"Cyanotype, Photography's Blue Period, Is Making a Comeback" 2565:"Drawing Rooms:Carl Palazzolo, Denyse Thomasos, Robin Hill." 1739:. Canberra: Australian National Gallery: Collins Australia. 309:

had published in 1831 in German on the light-sensitivity of

154: 3764:"Cyanotype: Photography's Blue Period is Making a Comeback" 1511:

Döbereiner, Johann Wolfgang. In, A Dictionary of Scientists

122:. For any purpose, the process usually uses two chemicals: 833:

used cyanotypes as an archive of reference images for his

355:

but with double-sided pages of cyanotype prints, in 1880.

3416:"Projecting Touch: Francesca Woodman's Late "Blueprints"" 2425:

Aloi, Giovanni (2021). "Unearthed: Photography's Roots".

2404:

Care of Photographic Moving Image & Sound Collections

1671:

Atkins, Anna; Schaaf, Larry John; Chuang, Joshua (2018).

1476:

Philosophical Transactions of the Royal Society of London

991:, then associated with Alfred Steiglitz who promoted the 3707:

New Dimensions in Photo Processes: a step by step manual

2689:"Lost Memories, or Patrice's bathroom dolls (interview)" 2400:"Cyanotypes: their history, chemistry, and conservation" 16:

Photographic printing process that produces a blue print

3373:

Sperone, Gian Enzo; Pelizzari, Maria Antonella (2016),

887:

In the US the medium persevered into the 20th century.

3480:

Juncosa, Enrique; Irish Museum of Modern Art (2008).

1736:

Shades of light: photography and Australia, 1839–1988

313:, of which Herschel became aware during his visit to 3690:. With text by Larry J. Schaaf. New York: Aperture. 2014:"Popular Miscellany: Copying designs by photography" 1960:"Contemporary art quilts in U.S. museum collections" 344:

Photographs of British Algae: Cyanotype Impressions,

5482:

Photographic processes dating from the 19th century

5396: 5343: 5248: 5191: 5097: 4981: 4893: 4845: 4585: 4352: 4152: 3874: 3321:. Ithaca, N.Y.: Herbert F. Johnson Museum of Art. 3239:"Charles-François Jeandel: Collection des oeuvres" 3148:Journal of the American Institute for Conservation 3138:O’Connor, Kaslyne; Pate, Ariel; Pénichon, Sylvie; 812:, though another British scientist, Fellow of the 3814:Gallery of over 100 artists working in cyanotypes 2427:Antennae: The Journal of Nature in Visual Culture 2145:Cyanotype: The Blueprint in Contemporary Practice 987:At the turn of the century, painter-photographer 281:The cyanotype was discovered, and named thus, by 3832:New York, The Scovill & Adams company. 1891. 1733:Newton, Gael; Ennis, Helen; Long, Chris (1988). 589:can produce images with a full tonal range, or 331:or tartrate, then commercially available as an 2772:. S.l.: Oxford University Press. p. 147. 2769:Still Modernism: photography, literature, film 2374:Encyclopedia of Nineteenth-Century Photography 1639:Encyclopedia of Nineteenth-Century Photography 479:. The combination of UV light and the citrate 23:A cyanotype of algae by 19th century botanist 3852: 2209:Gumoil Photographic Printing, Revised Edition 262: 8: 1164:'s late cyanotypes and in contact prints by 1007:The Alfred Stieglitz Collection: Photographs 593:can be used to create high-contrast images. 442:for every 2 ml of sensitizer solution. 416:Henri Pellet in 1877 in his gum arabic iron 5404:Conservation and restoration of photographs 3575:"Anna Atkins Refracted: Contemporary Works" 3011:Annuaire de la Société d'ethnographie, 1862 2463:"Kodak and the Rise of Amateur Photography" 2039:"General View of Niagara Falls from Bridge" 1563:Eder, Josef Maria; Epstean, Edward (1945). 301:' rays that had been discovered in 1801 by 5141:Comparison of digital and film photography 3859: 3845: 3837: 3775:Tsakiris, Stephanos (September 18, 2017). 2551:Tsakiris, Stephanos (September 18, 2017). 1888:Wehrenberg, Charles; Bosse, Henry (2001). 1768:Dobbie, Herbert; Haigh, Elizabeth (1880). 786:Anna Atkins, who was also an accomplished 567:The simplest kind of cyanotype print is a 269: 255: 141: 5361:Photographs considered the most important 3777:"Guinness world record Largest cyanotype" 2687:Kellner, Thomas; Turpin, Anthony (2012). 2584:Bulletin of the Detroit Institute of Arts 2553:"Guinness world record Largest cyanotype" 2276: 2274: 2272: 2147:. New York: Focal Press. pp. 11–18. 1251:Anna Atkins Refracted: Contemporary Works 1033:The more traditional American printmaker 54:Cyanotype postcard, Racine, Wis., c. 1910 2171:Hirsch, Robert; Valentino, John (2001). 2067:. London: Horne, Thornthwaite and Wood. 1144: 825:Museum of the History of Science, Oxford 674:, bone, shell and eggshell, plaster and 3190:"La Lanterne japonaise – Paul Haviland" 2283:"Hybrid Photography – Cyanotype Toners" 2174:Photographic Possibilities, 2nd Edition 1923:McMorris, Penny; Kile, Michael (1986). 1393: 1066:and the Terra Foundation for the Arts. 711:'s collaborative cyanotypes, including 144: 3342:"The Photographs of Arthur Wesley Dow" 3285: 3283: 3133: 3131: 2649: 2647: 2645: 2241:Anderson, Christina Z (17 June 2016). 2033: 2031: 1541:(in German). Leipzig: Fotokinoverlag. 379:Johannot et Cie. Annonay, aloe's satin 3709:(3rd ed.). Boston: Focal Press. 3296:. London: Allen Lane The Penguin PR. 3092: 3090: 2577: 2575: 2456: 2454: 2166: 2164: 2138: 2136: 2134: 2132: 2130: 2111:Cyanotypes: Photography's Blue Period 2104: 2102: 2100: 2084: 2082: 1929:. San Francisco: Quilt Digest Press. 1403: 1401: 1399: 1397: 1235:Cyanotypes: Photography's Blue Period 793:Cyanotype photography was popular in 453:paper is a preferred medium, cotton, 348:Ross Antarctic Expedition (1839–1843) 7: 3545:. Bath: Royal Photographic Society. 3040:(in German). Deutscher Kunstverlag. 2743:British Algae: Cyanotype Impressions 2626:"Robert Rauschenberg: Among Friends" 1894:. San Francisco, Calif.: Solo Zone. 1631: 1629: 1627: 1625: 1623: 1621: 1558: 1556: 1445:History of Photography (Winter 1998) 5356:Museums devoted to one photographer 3822:"Ferric and heliographic processes" 3788:. London: Royal Society of London. 3318:Arthur Wesley Dow and his influence 3074:National Museum of American History 2884:. Morgan & Morgan. p. 68. 2113:. Worcester: Worcester Art Museum. 1991:Photographic Reproduction Processes 1111:. He drew inspiration from Léger's 1064:Canajoharie Library and Art Gallery 1017:Photo-Secessionist Franco-American 5492:Alternative photographic processes 4903:Timeline of photography technology 3414:Riches, Harriet (September 2012). 2983:Bayard et Bertall (Paris) (1865). 871:, and though most were printed on 428: 14: 3688:Sun Gardens: Victorian Photograms 2926:History of Science Museum, Oxford 1824:. University of Minnesota Press. 1636:Hannavy, John, ed. (2013-12-16). 1179:David McDermott and Peter McGough 1156:cyanotype on fabric, mixed media. 777:cartoon 'Quite English, You Know! 353:New Zealand ferns: 148 varieties, 5454: 5444: 5443: 2823:"Victorian Life – 43 Cyanotypes" 2445:"Washing instructions for cloth" 1771:New Zealand ferns: 148 varieties 1509:Market House Books, ed. (1999). 1057:1887–1892, contemporaneous with 879:paper, some used the cyanotype. 551: 542: 514:Different composition levels of 5455: 3747:. New York: Morgan and Morgan. 3379:, Robilant + Voena, p. 148 3267:Smithsonian American Art Museum 3014:(in French). Paris: Challamel. 2143:Anderson, Christina Z. (2019). 1334:British-born American resident 1322:Icelandic artist and filmmaker 1001:(1903–1917) produced prints of 917:Road into the Valley – Moonrise 3762:Loos, Ted (February 5, 2016). 3639:British Journal of Photography 3600:Journal of Aesthetic Education 3392:Italian abstraction: 1910–1960 2335:"Cyanotype toning: the basics" 1793:Fisher, George Thomas (1843). 1720:10.1080/03087298.1982.10442730 1457:10.1080/03087298.1998.10443901 713:Untitled (Double Rauschenberg) 660:Cyanotype in artistic practice 475:light (such as sunlight) as a 1: 4953:Painted photography backdrops 4885:Golden triangle (composition) 4160:35 mm equivalent focal length 3816:on AlternativePhotography.com 3659:"Erin Shireff | Arm's Length" 3160:10.1080/01971360.2020.1711689 3105:(4): 72–80 – via EBSCO. 3008:de Labarthe, Charles (1862). 2461:Fineman, Mia (October 2004). 2093:. Buxton: www.mikeware.co.uk. 1470:Herschel, John F. W. (1842). 1200:. Cyanotype on handmade paper 1133:(The Compass). Influenced by 1107:', through which he met with 995:and Pictorialism through his 716: 587:transparent digital negatives 490:After exposure, the paper is 429:Herschel's formula and method 393:) in South Africa during the 3432:10.1080/17540763.2012.701598 3340:Glueck, Grace (2002-11-15). 2371:Hannavy, John (2013-12-16). 2063:Thornthwaite, W. H. (1851). 1988:Duchochois, Peter C (2007). 1799:London: G. Knight and Sons. 1249:, the exhibition was titled 1209:eight contemporary artists: 574:A variant of photograms are 93: 72: 4663:Intentional camera movement 3579:The New York Public Library 3539:Pritchard, Michael (2020). 1677:. New York Public Library. 1513:. Oxford University Press. 5513: 5351:Most expensive photographs 4708:Multi-exposure HDR capture 3743:Crawford, William (1979). 2908:Royal Astronomical Society 2878:Crawford, William (1979). 1125:, and fellow photographer 855:Collection anthropologique 814:Royal Astronomical Society 307:Johann Wolfgang Döbereiner 87: 67: 5439: 3808:Mike Ware's New Cyanotype 2951:History of Science Museum 2447:. blueprintsonfabric.com. 389:of the town of Mafeking ( 297:and the ultra-violet or ' 5285:Digital image processing 3705:Blacklow, Laura (2000). 3663:Sikkema Jenkins & Co 3390:Miracco, Renato (2006), 2654:Loos, Ted (2016-02-05). 2630:The Museum of Modern Art 2212:. Taylor & Francis. 1535:Baier, Wolfgang (1965). 1283:as a feminist statement 1039:Arts and Crafts movement 371:William Henry Fox Talbot 291:electromagnetic spectrum 4958:Photography and the law 3784:Herschel, John (1842). 3315:Green, Nancy E (1990). 2966:The British Art Journal 2802:"FlatFile-DanaMatthews" 2766:Hornby, Louise (2021). 2299:Golaz, Annette (2022). 1877:. Worcester Art Museum. 1243:New York Public Library 940:Camera Club of New York 911:Edward Steichen (1904) 865:adopted the hand-drawn 524:ferric ammonium citrate 516:ferric ammonium citrate 509:ferric ammonium oxalate 293:detected by his father 128:ferric ammonium oxalate 124:ferric ammonium citrate 5497:History of photography 5305:Gelatin silver process 4329:Science of photography 4314:Photographic processes 4292:Perspective distortion 3728:. Science Museum, UK. 3290:Scharf, Aaron (1968). 2515:Enfield, Jill (2020). 1958:Sider, Sandra (2016). 1818:Maimon, Vered (2015). 1708:History of Photography 1608:Philosophical Magazine 1566:History of Photography 1201: 1157: 928: 920: 831:Edwin Linley Sambourne 778: 641:Long-term preservation 613: 520:potassium ferricyanide 233:Through the Viewfinder 159: 132:potassium ferricyanide 101:mark, impression, type 55: 47: 42:Architectural drawing 35: 27: 4763:Schlieren photography 4302:Photographic printing 4225:Exposure compensation 3686:Atkins, Anna (1985). 2947:"Washington Teasdale" 2922:"Washington Teasdale" 2741:Atkins, Anna (1842). 2693:www.thomaskellner.com 2206:Koenig, Karl (1999). 2109:Burns, Nancy (2016). 2043:World Digital Library 1648:10.4324/9780203941782 1192: 1148: 1119:Metaphysical painting 1117:, Surrealism via the 974:William Merritt Chase 926: 910: 770: 611: 158: 53: 41: 33: 22: 4547:Straight photography 4185:Chromatic aberration 3820:Brown, G.E. (1900). 3745:The Keepers of Light 2480:Brown, Ruth (2016). 2065:Guide to Photography 2024:(9): 251. June 1878. 1852:Charles Wehrenberg, 1105:Abstraction-Création 1019:Paul Burty-Havilland 1003:Midnight Lake George 978:John White Alexander 970:Thomas Wilmer Dewing 913:Midnight Lake George 897:George Eastman House 752:Thessaloniki, Greece 732:public collections. 725:Museum of Modern Art 440:potassium dichromate 5487:Non-impact printing 5414:photographic plates 5099:Digital photography 4277:Hyperfocal distance 4190:Circle of confusion 3293:Art and Photography 3219:Library of Congress 3213:Holland Day, Fred. 3037:September 2007] 2596:10.1086/dia23183243 2567:Abstract Art Online 2486:. SC Publications. 2398:Ware, Mike (1999). 2281:Berkowitz, Steven. 2089:Ware, Mike (2014). 1964:Art Quilt Collector 1873:Moon, Abby (2016). 1856:, Twin Palms 2002, 1488:1842RSPT..132..181H 1408:Ware, Mike (2004). 1324:Inga Lísa Middleton 817:Washington Teasdale 803:Peter Henry Emerson 705:Robert Rauschenberg 381:and leather bound. 112:blue light spectrum 4918:Autochrome Lumière 4913:Analog photography 4738:Pigeon photography 4527:Social documentary 4006:discontinued films 3346:The New York Times 3263:"Bertha E. Jaques" 3243:www.musee-orsay.fr 3194:www.musee-orsay.fr 3140:Casadio, Francesca 2660:The New York Times 1287:Meghann Riepenhoff 1202: 1158: 1123:Georgio de Chirico 1081:environment, like 929: 921: 889:Eadweard Muybridge 779: 763:Nineteenth century 729:Nancy Wilson-Pajic 682:in 2001 exhibited 665:Artistic potential 614: 160: 56: 48: 36: 28: 5469: 5468: 5270:Collodion process 5206:Chromogenic print 5193:Color photography 4703:Multiple exposure 4678:Lo-fi photography 4205:Color temperature 3724:Ware, M. (1999). 3552:978-0-904495-21-8 3493:978-88-8158-672-1 3401:978-88-202-1811-9 3118:Magazine Antiques 3047:978-3-422-06723-3 2779:978-0-19-762604-7 2752:978-3-95829-510-0 2528:978-1-138-22906-8 2493:978-0-9554647-5-1 2384:978-1-135-87327-1 2312:978-0-367-55356-2 2254:978-1-138-10150-0 2219:978-1-136-09029-5 2184:978-1-136-09053-0 2154:978-0-429-44141-7 2120:978-0-936042-06-0 1936:978-0-913327-08-1 1901:978-1-886163-14-0 1831:978-1-4529-5352-6 1746:978-0-642-08152-0 1684:978-3-7913-5798-0 1657:978-0-203-94178-2 1584:978-0-231-88370-2 1575:10.7312/eder91430 1520:978-0-19-280086-2 1421:978-1-900747-07-3 1372:Spirit duplicator 1265:Christian Marclay 1162:Francesca Woodman 1075:Arthur Wesley Dow 1051:Theodore Robinson 952:platinum printing 795:Victorian England 630:hydrogen peroxide 591:lithographic film 518:(or oxalate) and 387:Siege of Mafeking 329:iron(III) citrate 323:had in 1840 used 283:Sir John Herschel 279: 278: 203:Oil print process 5504: 5458: 5457: 5447: 5446: 5325:Print permanence 5275:Cross processing 5233:CMYK color model 5218:Color management 5171:Foveon X3 sensor 5166:Three-CCD camera 4810:Miniature faking 4768:Sabattier effect 4380:Astrophotography 4235:Zebra patterning 3861: 3854: 3847: 3838: 3833: 3825: 3797: 3780: 3771: 3770:. 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12: 11: 5: 5510: 5508: 5500: 5499: 5494: 5489: 5484: 5474: 5473: 5467: 5466: 5464: 5463: 5452: 5440: 5437: 5436: 5434: 5433: 5428: 5423: 5418: 5417: 5416: 5411: 5400: 5398: 5394: 5393: 5391: 5390: 5389: 5388: 5383: 5378: 5373: 5363: 5358: 5353: 5347: 5345: 5341: 5340: 5338: 5337: 5332: 5327: 5322: 5317: 5312: 5307: 5302: 5297: 5292: 5287: 5282: 5277: 5272: 5267: 5262: 5256: 5254: 5246: 5245: 5243: 5242: 5241: 5240: 5235: 5230: 5225: 5215: 5210: 5209: 5208: 5197: 5195: 5189: 5188: 5186: 5185: 5180: 5175: 5174: 5173: 5168: 5163: 5158: 5148: 5143: 5138: 5133: 5132: 5131: 5126: 5121: 5120: 5119: 5107:Digital camera 5103: 5101: 5095: 5094: 5092: 5091: 5086: 5081: 5076: 5071: 5066: 5061: 5056: 5051: 5046: 5041: 5036: 5031: 5026: 5021: 5016: 5011: 5006: 5001: 4996: 4991: 4985: 4983: 4979: 4978: 4976: 4975: 4970: 4965: 4960: 4955: 4950: 4945: 4940: 4935: 4933:Camera obscura 4930: 4925: 4920: 4915: 4910: 4905: 4899: 4897: 4891: 4890: 4888: 4887: 4882: 4877: 4875:Rule of thirds 4872: 4867: 4862: 4857: 4851: 4849: 4843: 4842: 4840: 4839: 4834: 4829: 4824: 4819: 4814: 4813: 4812: 4802: 4797: 4796: 4795: 4785: 4780: 4775: 4770: 4765: 4760: 4755: 4750: 4745: 4740: 4735: 4730: 4725: 4720: 4715: 4710: 4705: 4700: 4695: 4690: 4685: 4680: 4675: 4670: 4665: 4660: 4655: 4650: 4645: 4643:Harris shutter 4640: 4638:Hand-colouring 4635: 4630: 4625: 4620: 4615: 4610: 4605: 4600: 4595: 4589: 4587: 4583: 4582: 4580: 4579: 4574: 4569: 4564: 4559: 4554: 4549: 4544: 4539: 4534: 4529: 4524: 4523: 4522: 4512: 4507: 4502: 4497: 4492: 4487: 4482: 4477: 4472: 4467: 4462: 4457: 4452: 4447: 4442: 4437: 4432: 4427: 4422: 4417: 4412: 4407: 4402: 4397: 4392: 4387: 4382: 4377: 4372: 4367: 4362: 4356: 4354: 4350: 4349: 4347: 4346: 4341: 4336: 4331: 4326: 4324:Red-eye effect 4321: 4316: 4311: 4310: 4309: 4299: 4294: 4289: 4284: 4279: 4274: 4269: 4264: 4259: 4258: 4257: 4252: 4242: 4237: 4232: 4230:Exposure value 4227: 4222: 4217: 4215:Depth of focus 4212: 4210:Depth of field 4207: 4202: 4197: 4192: 4187: 4182: 4177: 4172: 4167: 4162: 4156: 4154: 4150: 4149: 4147: 4146: 4141: 4140: 4139: 4129: 4124: 4119: 4114: 4109: 4108: 4107: 4102: 4097: 4092: 4087: 4082: 4077: 4067: 4066: 4065: 4060: 4055: 4050: 4045: 4040: 4035: 4030: 4025: 4015: 4010: 4009: 4008: 4003: 3998: 3993: 3988: 3983: 3973: 3968: 3967: 3966: 3961: 3951: 3950: 3949: 3944: 3939: 3934: 3929: 3924: 3919: 3914: 3909: 3904: 3899: 3894: 3889: 3878: 3876: 3872: 3871: 3866: 3864: 3863: 3856: 3849: 3841: 3835: 3834: 3826: 3817: 3811: 3803: 3802:External links 3800: 3799: 3798: 3781: 3772: 3768:New York Times 3759: 3753: 3740: 3734: 3721: 3715: 3702: 3696: 3681: 3678: 3675: 3674: 3650: 3633:Merola, Alex. 3625: 3590: 3566: 3551: 3531: 3507: 3492: 3472: 3453: 3426:(2): 135–157. 3406: 3400: 3382: 3365: 3332: 3307: 3279: 3254: 3230: 3205: 3181: 3154:(2): 111–122. 3142:(2020-04-02). 3127: 3108: 3086: 3061: 3046: 3025: 3000: 2975: 2956: 2938: 2913: 2895: 2870: 2839: 2814: 2793: 2778: 2758: 2751: 2733: 2709: 2679: 2641: 2617: 2571: 2558: 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500: 497: 447:photosensitive 430: 427: 425: 422: 311:ferric oxalate 277: 276: 274: 273: 266: 259: 251: 248: 247: 246: 245: 240: 235: 230: 225: 220: 215: 210: 205: 200: 195: 193:Gum bichromate 190: 185: 180: 175: 170: 162: 161: 151: 150: 139: 136: 46:, Canada, 1936 15: 13: 10: 9: 6: 4: 3: 2: 5509: 5498: 5495: 5493: 5490: 5488: 5485: 5483: 5480: 5479: 5477: 5462: 5453: 5451: 5442: 5441: 5438: 5432: 5429: 5427: 5424: 5422: 5419: 5415: 5412: 5410: 5407: 5406: 5405: 5402: 5401: 5399: 5395: 5387: 5384: 5382: 5379: 5377: 5374: 5372: 5369: 5368: 5367: 5366:Photographers 5364: 5362: 5359: 5357: 5354: 5352: 5349: 5348: 5346: 5342: 5336: 5333: 5331: 5328: 5326: 5323: 5321: 5318: 5316: 5313: 5311: 5308: 5306: 5303: 5301: 5298: 5296: 5293: 5291: 5288: 5286: 5283: 5281: 5278: 5276: 5273: 5271: 5268: 5266: 5263: 5261: 5260:Bleach bypass 5258: 5257: 5255: 5253: 5247: 5239: 5236: 5234: 5231: 5229: 5228:primary color 5226: 5224: 5221: 5220: 5219: 5216: 5214: 5213:Reversal film 5211: 5207: 5204: 5203: 5202: 5199: 5198: 5196: 5194: 5190: 5184: 5181: 5179: 5178:Image sharing 5176: 5172: 5169: 5167: 5164: 5162: 5159: 5157: 5154: 5153: 5152: 5149: 5147: 5144: 5142: 5139: 5137: 5134: 5130: 5127: 5125: 5122: 5118: 5115: 5114: 5113: 5110: 5109: 5108: 5105: 5104: 5102: 5100: 5096: 5090: 5087: 5085: 5082: 5080: 5079:United States 5077: 5075: 5072: 5070: 5067: 5065: 5062: 5060: 5057: 5055: 5052: 5050: 5047: 5045: 5042: 5040: 5037: 5035: 5032: 5030: 5027: 5025: 5022: 5020: 5017: 5015: 5012: 5010: 5007: 5005: 5002: 5000: 4997: 4995: 4992: 4990: 4987: 4986: 4984: 4980: 4974: 4971: 4969: 4966: 4964: 4961: 4959: 4956: 4954: 4951: 4949: 4946: 4944: 4941: 4939: 4938:Daguerreotype 4936: 4934: 4931: 4929: 4926: 4924: 4921: 4919: 4916: 4914: 4911: 4909: 4906: 4904: 4901: 4900: 4898: 4896: 4892: 4886: 4883: 4881: 4878: 4876: 4873: 4871: 4868: 4866: 4863: 4861: 4858: 4856: 4853: 4852: 4850: 4848: 4844: 4838: 4835: 4833: 4830: 4828: 4825: 4823: 4820: 4818: 4815: 4811: 4808: 4807: 4806: 4803: 4801: 4798: 4794: 4791: 4790: 4789: 4786: 4784: 4783:Stopping down 4781: 4779: 4776: 4774: 4771: 4769: 4766: 4764: 4761: 4759: 4756: 4754: 4751: 4749: 4748:Rephotography 4746: 4744: 4741: 4739: 4736: 4734: 4731: 4729: 4726: 4724: 4721: 4719: 4716: 4714: 4711: 4709: 4706: 4704: 4701: 4699: 4696: 4694: 4691: 4689: 4686: 4684: 4683:Long-exposure 4681: 4679: 4676: 4674: 4671: 4669: 4666: 4664: 4661: 4659: 4656: 4654: 4651: 4649: 4646: 4644: 4641: 4639: 4636: 4634: 4631: 4629: 4626: 4624: 4621: 4619: 4616: 4614: 4611: 4609: 4606: 4604: 4601: 4599: 4596: 4594: 4591: 4590: 4588: 4584: 4578: 4575: 4573: 4570: 4568: 4565: 4563: 4560: 4558: 4555: 4553: 4550: 4548: 4545: 4543: 4540: 4538: 4535: 4533: 4530: 4528: 4525: 4521: 4518: 4517: 4516: 4513: 4511: 4508: 4506: 4503: 4501: 4498: 4496: 4493: 4491: 4488: 4486: 4483: 4481: 4478: 4476: 4473: 4471: 4468: 4466: 4463: 4461: 4458: 4456: 4453: 4451: 4448: 4446: 4443: 4441: 4438: 4436: 4433: 4431: 4428: 4426: 4423: 4421: 4418: 4416: 4413: 4411: 4408: 4406: 4403: 4401: 4398: 4396: 4393: 4391: 4388: 4386: 4383: 4381: 4378: 4376: 4375:Architectural 4373: 4371: 4368: 4366: 4363: 4361: 4358: 4357: 4355: 4351: 4345: 4342: 4340: 4337: 4335: 4334:Shutter speed 4332: 4330: 4327: 4325: 4322: 4320: 4317: 4315: 4312: 4308: 4305: 4304: 4303: 4300: 4298: 4295: 4293: 4290: 4288: 4287:Metering mode 4285: 4283: 4280: 4278: 4275: 4273: 4270: 4268: 4265: 4263: 4260: 4256: 4253: 4251: 4248: 4247: 4246: 4243: 4241: 4238: 4236: 4233: 4231: 4228: 4226: 4223: 4221: 4218: 4216: 4213: 4211: 4208: 4206: 4203: 4201: 4200:Color balance 4198: 4196: 4193: 4191: 4188: 4186: 4183: 4181: 4178: 4176: 4173: 4171: 4168: 4166: 4165:Angle of view 4163: 4161: 4158: 4157: 4155: 4151: 4145: 4142: 4138: 4135: 4134: 4133: 4130: 4128: 4125: 4123: 4120: 4118: 4115: 4113: 4112:Manufacturers 4110: 4106: 4103: 4101: 4098: 4096: 4093: 4091: 4088: 4086: 4083: 4081: 4078: 4076: 4073: 4072: 4071: 4068: 4064: 4061: 4059: 4056: 4054: 4051: 4049: 4046: 4044: 4041: 4039: 4036: 4034: 4031: 4029: 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3449: 3445: 3441: 3437: 3433: 3429: 3425: 3421: 3420:Photographies 3417: 3410: 3407: 3403: 3397: 3393: 3386: 3383: 3378: 3377: 3369: 3366: 3355: 3351: 3347: 3343: 3336: 3333: 3328: 3324: 3320: 3319: 3311: 3308: 3303: 3299: 3295: 3294: 3286: 3284: 3280: 3268: 3264: 3258: 3255: 3244: 3240: 3234: 3231: 3220: 3216: 3209: 3206: 3195: 3191: 3185: 3182: 3177: 3173: 3169: 3165: 3161: 3157: 3153: 3149: 3145: 3141: 3134: 3132: 3128: 3123: 3119: 3112: 3109: 3104: 3100: 3093: 3091: 3087: 3075: 3071: 3065: 3062: 3057: 3053: 3049: 3043: 3039: 3038: 3029: 3026: 3021: 3017: 3013: 3012: 3004: 3001: 2996: 2992: 2988: 2987: 2979: 2976: 2971: 2967: 2960: 2957: 2952: 2948: 2942: 2939: 2927: 2923: 2917: 2914: 2909: 2905: 2899: 2896: 2891: 2887: 2883: 2882: 2874: 2871: 2859: 2855: 2851: 2850: 2843: 2840: 2828: 2824: 2818: 2815: 2803: 2797: 2794: 2789: 2785: 2781: 2775: 2771: 2770: 2762: 2759: 2754: 2748: 2744: 2737: 2734: 2723: 2719: 2713: 2710: 2699:on 2022-08-19 2698: 2694: 2690: 2683: 2680: 2669: 2665: 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Routledge. 2520: 2519: 2511: 2508: 2503: 2499: 2495: 2489: 2485: 2484: 2476: 2473: 2468: 2464: 2457: 2455: 2451: 2446: 2440: 2437: 2432: 2428: 2421: 2418: 2413: 2409: 2405: 2401: 2394: 2391: 2386: 2380: 2377:. Routledge. 2376: 2375: 2367: 2364: 2360: 2355: 2352: 2340: 2336: 2330: 2327: 2322: 2318: 2314: 2308: 2305:. 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Routledge. 1641: 1640: 1632: 1630: 1628: 1626: 1624: 1622: 1618: 1613: 1609: 1602: 1599: 1594: 1590: 1586: 1580: 1576: 1572: 1568: 1567: 1559: 1557: 1553: 1548: 1544: 1540: 1539: 1530: 1527: 1522: 1516: 1512: 1505: 1502: 1497: 1493: 1489: 1485: 1481: 1477: 1473: 1466: 1463: 1458: 1454: 1450: 1446: 1439: 1436: 1431: 1427: 1423: 1417: 1413: 1412: 1404: 1402: 1400: 1398: 1394: 1387: 1383: 1380: 1378: 1375: 1373: 1370: 1368: 1365: 1363: 1360: 1358: 1355: 1353: 1350: 1349: 1345: 1343: 1341: 1337: 1336:Walead Beshty 1329: 1327: 1325: 1317: 1315: 1313: 1305: 1303: 1300: 1299:Erin Shirreff 1292: 1290: 1288: 1284: 1282: 1278: 1274: 1272: 1268: 1266: 1260:United States 1259: 1257: 1254: 1252: 1248: 1247:British Algae 1244: 1241:In 2018, the 1239: 1236: 1229:International 1228: 1226: 1224: 1220: 1216: 1212: 1208: 1199: 1195: 1191: 1184: 1182: 1180: 1175: 1171: 1167: 1163: 1155: 1151: 1147: 1140: 1138: 1136: 1132: 1128: 1124: 1120: 1116: 1115: 1110: 1109:Fernand Léger 1106: 1102: 1097: 1095: 1090: 1088: 1084: 1080: 1076: 1069: 1067: 1065: 1060: 1056: 1052: 1045:Impressionism 1044: 1042: 1040: 1036: 1035:Bertha Jaques 1031: 1028: 1024: 1020: 1015: 1013: 1008: 1004: 1000: 999: 994: 990: 985: 983: 979: 975: 971: 967: 963: 961: 957: 953: 949: 946:, cyanotypy, 945: 941: 937: 933: 932:Pictorialists 925: 918: 914: 909: 902: 900: 898: 894: 893:Edward Curtis 890: 883:United States 882: 880: 878: 874: 870: 869: 864: 860: 859:Henri Le Secq 856: 852: 848: 840: 838: 836: 832: 828: 826: 822: 818: 815: 811: 806: 804: 800: 796: 791: 789: 788:watercolorist 781: 776: 775: 769: 762: 757: 755: 753: 748: 746: 741: 738: 733: 730: 726: 714: 710: 706: 700: 698: 694: 689: 685: 681: 677: 673: 664: 659: 657: 654: 652: 648: 640: 634: 631: 627: 624: 620: 619: 618: 610: 603: 601: 599: 594: 592: 588: 584: 579: 577: 572: 570: 554: 545: 533: 531: 528: 525: 521: 517: 512: 510: 506: 498: 496: 493: 488: 486: 485:Prussian blue 482: 478: 477:contact print 474: 469: 467: 463: 460: 456: 452: 448: 443: 441: 437: 423: 421: 419: 413: 411: 407: 403: 398: 396: 392: 388: 382: 380: 376: 372: 368: 362: 360: 356: 354: 349: 345: 341: 337: 334: 330: 326: 322: 318: 316: 312: 308: 304: 303:Johann Ritter 300: 296: 292: 288: 284: 272: 267: 265: 260: 258: 253: 252: 250: 249: 244: 241: 239: 236: 234: 231: 229: 228:Sprocket hole 226: 224: 221: 219: 216: 214: 211: 209: 206: 204: 201: 199: 196: 194: 191: 189: 186: 184: 181: 179: 176: 174: 171: 169: 168:Bleach bypass 166: 165: 164: 163: 157: 153: 152: 149: 143: 137: 135: 133: 129: 125: 121: 117: 113: 109: 95: 74: 65: 64:Ancient Greek 61: 52: 45: 40: 32: 26: 21: 5426:Polaroid art 5320:K-14 process 5315:Instant film 5310:Gum printing 5265:C-41 process 5250:Photographic 5151:Image sensor 5146:Film scanner 4800:Sun printing 4733:Print toning 4617: 4520:space selfie 4490:Pictorialism 4420:Ethnographic 4400:Conservation 4272:Guide number 4267:Focal length 3767: 3744: 3725: 3706: 3687: 3666:. 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